online : ISSN 1462-0426

n.paradoxa
international feminist art journal
exploring feminist theory and contemporary women's art practices

published in two separate editions
online ISSN: 1462-0426 (20 issues, since Dec. 1996)
and in print ISSN 1461-0434 (bi-annual volumes, every Jan and July, since Jan. 1998)

The online and print versions of n.paradoxa publish different and separate content.
Online editions were published as issue numbers (20 issues between 1998 and 2008);
n.paradoxa continues in print form only as volume numbers (every 6 months, January and July).

All articles in n.paradoxa are published under author's and artist's copyright. Please respect their copyright.
Publisher's copyright permission is required for any reproduction of the articles from this website. 
Author's copyright must be sought for any reproduction of the articles on this website. 

In print, current volume is Volume 24: Material Histories (July 2009)
Next: Volume 25: Pleasure (Jan 2010)

Call for Papers for forthcoming Volumes in print
If you would like to submit an article on contemporary women's art practices (visual arts only) or an aspect of feminist art theory, an interview with a woman artist or a feature to n.paradoxa, please contact the editor. Do not send finished articles. Articles are commissioned through negotiation with the editor: k.deepwell@ukonline.co.uk
n.paradoxa publishes contributions from women artists and critics from anywhere in the world.
Please send, well in advance of the copy deadline, an outline (1-2 paragraphs) and a short resume (1 page only).
P lease also outline the relation of your proposal to the theme of a particular volume.

Future volumes:
Volume 26: Feminist Pedagogies (July 2010)
(Copy deadline: 1 May 2010, to be published July 2010)
How are we teaching students about feminist art practices or a history of the woman’s art movement since the 1970s or about feminist theory’s relation to art? What constitutes “the” feminist curriculum, and its most paradigmatic examples of artworks and set texts? Are there “canonical” methods and approaches which define feminist art and are these singular or plural? Can ‘feminist art’ be taught as a practice: in the studio or in the lecture room? Are independent workshops in/outside of cultural institutions (museums and galleries) a more effective means for transmitting/generating feminist ideas or artworks? As some of the most active feminist professors from the 1970s (aged between 55-75) have retired or approach retirement from University positions, what will become of their teaching methods or their innovations? What legacies of their feminist teaching, schools, workshops or initiatives remain to generate new scholarship in this field?
In this volume, polemical contributions by women artists, critics or historians which explore what might constitute a feminist pedagogy in art education since the 1970s (at University level or as professionals) are welcomed as well as discussion of innovative examples to change curricula; the legacies set by important feminist teachers; and explorations of readings of feminist art since the 1970s which have generated new feminist artworks.

Volume 27: Women's Work (Jan 2011)
(Copy deadline: 1 Nov 2010, to be published Jan 2011)
‘A woman’s work is never done’. Women’s work is often defined as repetitive, dull, endless and never-ending: even, as the opposite of “free” creative cultural labour of the artist. This volume will investigate how women’s labour appears as a subject in/of representation in contemporary women artists' works and in its relation to women’s employment in the labour markets of the world (both legal and illegal work in factories, shops, service industries, agriculture, black markets and the sex industry). When women’s role in the paid labour market is dominant in the service industry and in many lowly paid, menial tasks - all essential for maintenance of the economy or environment – how can a feminist critique of labour or the feminist critique in art provide a means to question or challenge oppressive practices in paid work or the family. Women’s work – outside traditional employment or as a characteristic of it – is often defined as the small and insignificant chores which are needed to maintain, shop, clean and cook for a family. This has often been the subject of feminist art practices which take these essential tasks as a means to question the values attributed to waged labour. Defining the shifts of women’s work in a globalised economy – characterised by migration and exploitation - unites them in common frustrations about their “local” situation but how have feminist readings of art work about these subjects emerged in developed and developing economies in rapidly changing and often fragile economies.

Views expressed in this journal are those of the authors/contributors and not those of the editor. All material is the copyright of author/artists. Please respect their copyright.

All reproduction & distribution rights reserved to n.paradoxa. No part of this webiste may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa.

Editor: Katy Deepwell
Letters and comments to k.deepwell@ukonline.co.uk
Send proposals for articles and review suggestions
k.deepwell@ukonline.co.uk

Current volume 
in print: 
Material Histories
(vol. 24, July 2009)
ISSN 1461-0434

available by mail order
from www.ktpress.co.uk

Full index of all articles in print, volumes 1-24

Full list of volumes in print

n.paradoxa was part of documenta 12's  magazine project  in Kassel, Germany, 16 June-23 Sept 2007. A discussion on the theme of 'Regendering documenta' was held between Katy Deepwell, editor of n.paradoxa and Judy Freya Sibayan, artist and editor of Ctrl+P in the documenta halle on 30 August 2007. This discussion is also available in the pdf of Ctrl+P, from their website.